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Struggles, Objectives and Criteria of Fine Art by Debbie Tarsitano

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Struggles, Objectives and Criteria of Fine Art by Debbie Tarsitano Struggles, Objectives and Criteria Of Fine Art By Debbie Tarsitano Recently the organizer of a very successful fine art show which exhibits paintings, sculpture and multi media told me: “We do not allow any glass into our show because glass is in that fuzzy area between decorative art and serious fine art.” This woman organizes the show to include only work by artists respected by mainstream art critics and museum curators; she promotes the show to a large audience of fine art collectors. I surmised from her comments that there is a problem with the way that people look at glass art. The idea that anyone in the fine art world would declare glass art, (all glass art, no matter what artist) unacceptable in a fine art show surprised and upset me. I began thinking about what is needed to move at least some glass art that deserves fine art status out of the “fuzzy area” and into greater acceptance by mainstream fine art shows and galleries. As a fine art student at Hofstra University in the 1970’s, I entered the world of art through painting, which provided me with well-defined choices. If as a painter I wanted to make fine art, I had to study and work by the historical artistic standards set by the best paintings. If I wanted to make decorative art, different standards applied. Some of my friends decided that they wanted to create decorative art. I chose to paint subjects that portrayed real life. Eventually I went on to study oriental painting in the realistic palace style, under one of the last great Chinese court painters Mrs. Sun Lee. Just selecting this medium automatically set a standard and expectation for my work – and they were very high standards indeed. The purpose of the instruction that I received was to create serious original fine art. My instructors pushed me and juried my work based on artistic criteria that had evolved through many years of creating and criticizing at the high-level of the greater world of mainstream art. My instruction gave me no other choice than to live up to the standards set by the greatest work that had gone before. However, in striving to meet that well-defined challenge, I always felt that my own artwork would be judged by the highest standards of achievement in painting. Sculpture, the closest fine art category to glass, has much the same expectations as painting in fine art. When discussing sculpture for example, I learned by looking at the fundamentals. When you apply those fundamentals to glass art, you find that most glass works are sculptural but not sculpture. In the fine art world sculpture has a real definition in terms that let the observer distinguish between what is and what is not sculpture. If we want the art community to view us as artists, our work has to meet the age-old criteria of art. To be a real sculpture the piece must contain elements of form, gesture, volume, dimension, line, texture, shape, proportion, and stimulation. The composition should create an important relationship to a human body in the space it occupies. A sculpture changes as the viewer walks around it. Sculpture confronts the viewer in real space first, it connects physically and then it connects with the viewer intellectually. Sculpture is not functional. Sculpture is molded carved or assembled in a three dimensional form exhibiting height, depth, and width. Not all-contemporary sculpture or fine art is beautiful. Contemporary art makes statements about the world we live in. It bears witness to our world; it is a silent scribe to what our lives are like. Can glass art be contemplative? Mainstream art does not have to be beautiful, yet profound concepts give it its most powerful appeal. Rodin’s Thinker is not pretty in any decorative sense but it is profound, powerful, enduring and moving in concept. That piece meets all of the fine art world’s criteria for sculpture. As glass artists, are we encouraged to make such strong statements in glass? Is the glass community ready for statements and concepts that are not beautiful but more powerfully designed and more meaningful than pretty? When I joined the fine art community as a student many years ago I expected my work to be held to the highest standards and never lumped in with or compared to work that intentionally aimed to satisfy merely decorative standards. As an art student I also enjoyed reading art magazines and books along with the arts section of the New York Sunday Times. I followed the art world closely and studied the latest American and European art trends. I visited many mainstream art museums and viewed their shows and collections. Once I entered the glass field, however, I unconsciously and gradually narrowed my reading until it consisted mainly of publications and books about art glass with only an occasional fine art book. (I continued to go to museum shows, but primarily to see glass.) Last summer, while looking at art magazines in Barnes and Noble I found more than 20 non-glass fine art magazines that interested me. I bought a dozen or so of the most interesting magazines and have enjoyed reading them and catching up on what is going on in the art world outside of glass. Contemporary fine art offers so much stimulation which complements and expands the vision for my work in glass. Reviving my interest in serious art has sped up my growth as an artist. However, the exclusion of glass from “fine art” by relegating it to a specialized category – “art glass” – presents a definite problem for glass artists who, like me, are now struggling to make fine art in glass and have that work accepted as serious art at events outside of glass. The general audience for fine art has come to understand the difference between an Elvis painting on velvet and a fine art painting. Glass artists that come from mainstream art are less likely to make decorative and functional work. They see glass only as another material to work with. For example September 2002 Sculpture magazine published an interview with Maya Lin, the designer of the famous Viet Nam war memorial in Washington D.C., She told about her residency at Pilchuck where she made monoprints. Maya Lin is not a glass artist, yet she saw glass as a medium for expressing her love of the smooth stones she found in the Pilchuck River near the school. Working with glass gaffers at the school she created her work entitled, Rock Field, out of 46 asymmetrical blown glass components. Maya Lin found that she had to re-train the glass artists to see art and balance in asymmetrical glass designs, (they wanted to make her glass components symmetrical). The magazine quotes her as saying, “I’m not about fabricating. It’s more an idea.” Artists like Maya Lin bring higher forms of design to glass. A fine-art painter who comes into glass may find ways to use glass in a painterly style. A fine-art-trained sculptor may carve or engrave glass or even sculpt hot glass in a way never seen before. As mainstream artists work with glass, their new thinking will open up exciting formats for glass art. However, for mainstream artists to choose glass as their medium we must develop a more sophisticated and defined structure of artistic standards including categories of glass art. Just as the standards and choices of painting were clear at the University, in the glass art field we need to evolve those same understandings and classifications if we want the general public to accept art made in glass as Art. These standards will permeate all aspects of the glass art field: education of artists and collectors, galleries, art criticism and artistic development. Terms from the art world like realist, abstract, multi-media, minimalist, architectural designer, sculptor, must now be applied to glass artists who will fit new criteria for glass as Art. We all can no longer continue to work within a “fuzzy area” and, more importantly, new artists need to decide where they want to fit. Unlike painting and sculpture, glass is more a part of every day life. We store our food in glass, we eat out of glass, we drink from glass, and we even drive our cars by looking through glass windshields. Most people see the world from childhood to death through glass used primarily for its magical function. Artists working in glass need to consider that for the average American, glass is something they load into dishwashers and separate for recycling. For most people the only sophisticated glass they have in their homes is decorative, as in a lighting fixture, a chandelier or perhaps pieces of fine tableware or flower vases. How can we make glass special for the interested public and set it apart from the mundane? In the last fifty years certain artists and art lovers have seen glass differently, as an artistic medium, rather than as a merely functional or decorative substance. The glass art movement is still new compared to other fields of art. Painting and sculpture have been accepted as fine art for thousands of years. Glass as fine art has only been considered since the 1950’s. Prior to that time, most glass was (and was thought of) as decorative or functional. Some will argue that all art glass is fine art, that it has been appreciated, admired and collected for thousands of years. Ancient glass beads are certainly appreciated as art as well as many magnificent vessels dating to the early centuries.
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